yet another quick lowercase
some alternates (a, e, g, k, v, w, y) in uppercase

 a thin serif font for an online brand that has been left on the backburner for ages

it would be a good idea to scale individual bricks...

Republished with some accents, diacritics, etc. Likely still in progress (as if anything is ever really finished.)  Cheers,

A unique stretch font that is quirky and weird!

MADE WITH 2X2 FILTER

OUTDOORSY FONT

My take on a thin sans.

It should cover all Western European languages (plus Hawaiian and Hepburn romanisation).

First pass at light kerning done, will be refined with use.

ALIEN WORMHOLE - Monolinear Sci-Fi-inspired 'worm' typeface.
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[Historic snapshot:]
Most well known worm-type design probably is NASA's retired 'worm' logo (used from 1975 till 1992).
A sophisticated modernist rendering of the letters (N-A-S-A), done in a bold style letterform.

That being said, I should mention that this FontStruction wasn't "inspired by" or "based on" the original NASA logo though.
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[About this font:]

Small grid attempt at making sort of a experimental futuristic 'worm'-type design.
The letterforms for the most part are build from simplified basic geometry (rectangles/circular) except for a small number of symbols and punctuation that have diagonals.
It's experimental appearance is defined by the strikingly quirky counters that are awkwardly jutting out of the stems. To further boost it's awkwardness the letterforms have irregular width.

There is a full set of uppercase and partial lowercase glyph alternatives located in "Half Width Full Width" Unicode block to add slight stylistic variations.

I hope you like it,

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Here is a link to the 'Bold' version
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Cheers!

DER ZiiLTED - Neo-Grotesk italic hairline sans
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[ DESCRIPTION ]
The design is a simplistic slanted geometric hairline letterform with stylistic tapered spurs. Some extra glyph alternates were included to spice up this otherwise boring font, making it a little bit less boring.

The "DER ZIILTED" name was inspired by a poorly English speaking German person that is saying "The Tilted" in English but with a bad German emphasis on the phonetic sound of it hence 'der ziilted'
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[ INSIDE THIS FONT ]
■  Basic latin character set with only essential punctuation marks
■  Stylistic alternates
         • Double storey  lowercase 'a' & 'g'
         • Spurless lowercase forms (still in trial stage and likely will change)
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[ TECHNICAL ]
     ■  Metrics(in square grid units)
         • em-square:                 11 × 4.5
         • cap-height:                   8
         • x-height:                      6
         • ascent:                          2
         • descent:                        3
         • optical compensation:   ☒
         • stroke weight:               0.25

Nearly no kernig was done yet, but will be done at a later stage, since I'm 99.9% sure about having screwed up protocol for glyph 'side-bearings' in Italic fonts. (Still figuring out how exactly this should be handled properly, so stick with me on this matter..)
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[ PROCESS ]
Let's start with mentioning that only recently I was still tested 'Very Green' for Italic genetic material (found 0.01%).
I have very little experience doing Italic designs in general, having done only a hand full of trials, and completed only a couple. This is actually only the third 'true' Italic font that I have ever made with Fontstruct, and the second one (I think) that got published. Don't ask me why it took me about 5 years to finally do another, but, let me tell you this; Looking back at it after doing this font — "I now know why". This was tough to say the least.
I can imagine designing Italic fonts in general comes with it's own set of challenges of course. Doing this in Fontstruct only adds numerous challenges on top of that — "what else is new, right?!" Nothing that wasn't expected for the most part. But "holy frog on a leopard", what do I absolutely positively very much regret the choice to do so in such a small stroke weight. This stripped away every possible tollerance and free space for finetuning and making finalizing adjustments to minute little details required to perfecting everything (curvatures, transitions, slants and optical compensation).

I did the best I could to get visual aesthetics at least acceptable, and somewhat complete enough character set for basic latin text. There remain some small imperfections present for now that still need to get addressed.

For example I started experimenting with trying to achieve acceptable optical compensations such as overshoot. For now I only temporarily applied this to the experimental 'spurless' glyph alternate set for trial testing purpose, looking for acceptable results. And only once I found all the necessary solutions for each requisite glyph I transfer these adjustments one by one to the main character set. But all options remain open for the time being, it might so happen that in a later stage I decide not to implement them after all.

The 'spurless' glyph alternates will remain included to the project, but in what final form for now remains uncertain.

So from a typographer's point of view the font surely will look very basic and perhaps even simplistic. But looking at it from a Fontstructor's perspective, this was a lot more than just the average walk in the park for me.

But to be honest, I doubt I will do another Italic Fontstruction any time soon,haha

I hope you like it so far.

Cheers

woodsy serif!

I trying to make this font look like somebody drew it on paper...

I WANT TO MAKE ALL UNICODE

This font is intended for large sizes only.

The first font face of the font family "Scraper"

Open to comments and suggestions!

--- This is a demo / experiment---

Tall Font with the Uppercase and Lowercase letters being variations of each other.

Usable font coming soon

Open to comment and Suggestions!

A font based on lines.

The FontStruct family, Quicksand is a racing, fast, italic font for wordmarks.

Думаете, этот шрифт слишком широкий? Мне, работая на мониторе формата 21:9 так не кажется. Это очень удобный и функциональный формат, но многие сайты с адаптирующимся дизайном выглядят на нём плохо. Давно пора думать о ультра- и бесконечно- широких мониторах, а не только о 16:9 (не говоря о Virtual Reality). 

Think this font is too wide? Working on a 21: 9 monitor does not seem so to me. It is a very convenient and functional format, but many websites with responsive designs look bad on it. It's high time to think about ultra- and infinity-wide monitors, not just 16: 9 (not to mention Virtual Reality). Lowercase have more common, monospaced, less futuristic look.

Se more:

https://www.fontstruct.com/fontstructions/show/1320297/bb-snowzing

https://fontstruct.com/fontstructions/show/391413/harvestman

Long Boi is long, he is in fact even a little bit awkward...

Decorative experimental letters drawn around XX pattern.

This typeface is based on a retro theme mixed with the new digital age. It is unicase with tall thin characters.

Working on this. Only public for feedback.

Thank you <3